Cite one parallel in the life of Kurt Vonnegut and the artist Rabo Karabekian.

Some scholars would argue that Karabekian, the artist who also makes an appearance in Breakfast of Champions and Deadeye Dick before his final appearance in the mock-autobiography Bluebeard, is an overarching example of authorial self-insertion. In other words, the fictional character of Rabo Karabekian is but a thinly-veiled version of Vonnegut himself. Not only does Vonnegut cast himself as the central character, but overall, the novel could be seen as a fictional representation of Vonnegut’s life and career, as Karabekian explores many of the themes and ideas that are central to Vonnegut’s work: identity, the role that the artist plays in society, and the question of what art really is, to name just a few. More parallels come to light when comparing the lives of the two men: Karabekian, like Vonnegut, is a married man and former soldier, and both are innovators, however controversial, in their respective fields.